February 7, 2017
Butterick 6093 Redo..trois…quatre!
2017’s sewing projects got off to a rocky start, but I threw myself into planning for Valen-Teens Tea with the DFW Costumer’s Guild. We would be hosting a special guest: Laura, the creator and president of Shear Madness!
Photo courtesy of Barb Chancey
The event started off as informal and small, but soon grew to quite a full party! We met up at the Secret Garden Tea Room in the Montgomery Street Antique Mall in Fort Worth for an early lunch and, of course, tea:
After tea, we browsed the antique mall for a little while and then went for a nice stroll in the Fort Worth Botanic Gardens next door.
The event’s theme was 1910s, so Becky wore a thrifted Edwardian outfit she put together from the wonderland that is Goodwill, including her favorite lavender skirt, a pin-tucked floral blouse, and a vintage wool coat she got for a steal– $15! To top it off, she wore a rosey straw hat with a floral spray left over from my Edwardian Hat Hack.
Becky’s outfit Breakdown:
Pink straw hat – $3.49, Goodwill
Floral Pin-tuck blouse – $4.49, Goodwill
Lavender formal skirt – $7.49, Goodwill
Vintage wool coat – $14.95, Goodwill
(Her stockings and shoes were from her daily wear clothes. Always check your own closet! you never know what will work perfectly for a costume!)
Becky, 1915 style!
For my outfit, I dug Butterick 6093 out of the bottom of my pattern drawer. I’d made it a few years ago and had been less than impressed with the fit. However, I liked the general look and it goes together really fast, so I decided to give it another try.
Version 1, July 2015: “Straight” Size 12 made from cotton and a sari. It was a tad small.
Version 2, August 2015: 1st attempt at a multi-sized dress made from a cotton sheet and a dupatta that Laura sent me. Made for my sister who was the same size I was at the time. It turned out a little too large.
So, I had Goldilock’s problem: the first dress was too small, the second dress was too big…I needed to find one that was just right!
Without the breaking and entering charges, of course.
I decided to make a wearable mockup first. That way, if I ran out of time to make the final dress, I would at least have a version that would work. A wearable mockup is a trial garment that is finished like a regular garment, but isn’t necessarily what you want the final garment to look like. It’s simplified and often made out of an inexpensive/not-so-important fabric. For mine, I had picked up some rolled up remnants of purple mystery fabric at Walmart years ago that had these nifty thick white and purple threads that made pin-tuck-like stripes in the fabric. I had never unrolled it to see what it was like. Turns out it’s cotton organdy! I almost saved it for a different project, but I had bought it with Edwardian specifically in mind, so I now-or-nevered it into a simple version of Butterick 6093:
It’s sheer and unlined, so I used French seams for everything except the armscyes and waist seam.
Of course, that means that I had to sew every seam twice, but it makes a really nice, neat finish on the inside of sheer fabrics.
Since I’m an entirely different size than I was in 2015, I decided to start Butterick 6093 from scratch. I had tried a new measurement method for my 1868 Monet outfit earlier in January, and while that outfit didn’t go as well as I’d hoped, the sizing method was actually really helpful: Instead of choosing on flat size, like 16, and then doing a whole bunch of alterations sizing it up and down in various places via mockups, you take a few extra body measurements and choose each pattern piece individually.
My 1868 dress of failure.
Original photo by Festive Attyre
(one of the few pictures of this dress)
I got the idea from my Fashions of the Gilded Age by Francis Grimble. In the book, you have to take a lot of incremental measurements of your body in order to scale up the pattern pieces. In the case of Butterick 6093, instead of just measuring all the way around my bust or full bust, I broke it down into two separate measurements: 1) full front bust from side seam to side seam and 2) back from side seam to side seam at bust level. Then I laid out the tissue and measured the pattern pieces themselves instead of relying on Butterick’s suggested measurements.
By using this method, I ended up with a size 14 back and a size 20 front! Sounds a bit crazy, right? But it works! Truly Victorian, the popular Victorian pattern brand, uses a similar method to select your pattern pieces. The method suits Butterick 6093 well because there are no darts or curved back seams to worry about.
I really love the purple organdy dress, but when I tried it on…
Scientifically accurate rendering.
1910s dresses, like Regency dresses, can be problematic on certain body types. Indeed, the ice cream cone look was totally in from 1910-1913, but that isn’t a look I strive to recreate! The combo of the crisp fabric and the way I had gathered it made for a super-full front that would make a great Lumpy Space Princess cosplay, but not the most flattering tea gown.
Oh. My. Glob.
But when I put it on my dress form, it looked fab!
I mean, it helps that my dress form is shaped like an ideal size 10 with the added bonus of having one of my old bras stuffed onto it like a giant Barbie voodoo doll that sulks in the corner of my sewing room:
I expect things to look awesome the dress form, but if she’s very-near-to-literally having my exact bustline, why isn’t it a muffin-topped mess on her? It turns out that it’s got everything to do with my short waist.
My dress form is standardized to meet industry standards. That means she has an “average” torso length which happens to be about 2″ longer than mine! So the purple dress looked great on her because the very fitted skirt was the right length for her. On me, however, the top is about 1.5″ too tall causing the skirt to extend past where it should be, pushing the excess bodice length up and over the top, creating the unflattering droopy ice cream cone shape (Why do I end up describing all my sewing projects as desserts?!).
If you look at my previous versions, you will see a similar thing happening even at the smaller sizes.
I removed an inch off the top of the skirt pattern pieces for my final version.
Image includes complimentary glob of cat hair for your viewing pleasure.
It was like the magic cure! No more ice cream cone!
Of course, the final version doesn’t fit very well on my dress form, but that’s because it fits ME, not HER.
Take that, Gertie!
The fabric I used for the final version is an amazing cotton shirting with woven swiss dots. Just like my failed 1868 dress, it is one of the last fabrics I purchased at Hancock’s before they went under. This time, however, I don’t feel like I wasted it! It was a dream to sew with. I used it “inside out” so the fuzzy side of the dots faced out. The cream fabric is a filmy cotton curtain I found at Goodwill that has a drawn threadwork look:
Unlike the swiss dot, the curtain fabric was NOT a dream to sew with, so I didn’t make the long undersleeves I planned, but I did use it to make a contrasting rever! Thanks to my great experience with Butterick 3648, I am in love with revers! To turn 6093’s lapel into a rever, I simply taped it onto the bodice pattern piece on one side so when I cut it out, I ended up with this:
I’ve grown to admire Butterick 6093’s versatile styling options. Even if you don’t want to do fancy stuff like make revers, it comes with a curved lapel that can be used alone or in a pair, a squared collar, and skirt panels that can be used alone or overlapped, or you can leave all those extra bits off, like I did for my purple dress! It also has two sleeve options, though I haven’t tried the long sleeves with the cuffs yet.
Pattern options include:
- 3 skirt options: 1 drape, 2 drapes, none
- 6 collar options: single lapel, double lapels, square collar, square collar+1 lapel, square collar +2 lapels, no collar
- 2 sleeve options: short sleeves, long sleeves
There are over 30 combos you can make from the basic pieces alone!
And that number doesn’t even include things like changing the wrap direction of the bodice, adding extra embellishments, using more than one fabric, etc.
In fact–as a testament to the versatility of the pattern–we realized that three of us had used Butterick 6093 to make our tea dresses, but our dresses were all very different!
While I opted for the asymmetrical collar and a double-draped skirt in light cotton, Jane used a textured wool blend and completely omitted the collar, and Laura chose the square collar and a printed cotton.
Instead of gathering the bottom of the bodice, I made two large box pleats. It’s definitely unusual, but it worked! I also box pleated the back in the same manner.
I added a kick pleat in the back– the same solution Jane had come up with.
The dress is one piece and closes at the side seam with an invisible zipper. It’s not Historically Accurate, but it’s discreet.
For those concerned with HA, the zipper can easily be swapped out for hooks and eyes.
Overall, I would say that this pattern is a good one if you are willing to figure out the sizing. It’s flattering on nearly all body types and is a quick dress to make. I made it in about 10-12 hours (most of that time was spent ironing, TBH).
To accessorize my dress, I wore the hat I made in my Edwardian Hat Hack, my sister’s little white purse (which goes to nearly every event!), an antique necklace, some thrifted shoes, and a very serendipitous vintage coat I found the day before.
Photo courtesy of Mistress of Disguise
My attempt at an autochrome.
4 yards of green cotton – $16, Hancock’s Fabric
1 cotton curtain – $1.49, Goodwill
1 invisible zipper – $3.50, Walmart
1 spool of thread – $1.95, Walmart
Shoes – $7.99, Goodwill
1960s coat – $18.95, Goodwill
Total – $49.88
Underneath, I’m wearing my beloved Rago 821. The way it fits me very closely mimics a Teens corset, but it’s stretchy and cheap! I got it for about $30 off Amazon. I highly recommend it for 1910s and later!
My updated, more technical review of Butterick 6093 is posted on the Sewing Pattern Review website here.
A Simple 1870s Hairstyle Tutorial and a Review of Mona Lisa’s Curly Bangs Wiglet from Hair World By Jamie
April 24, 2016
Hair styling is not one of my talents, so, logically, one would assume that I might turn to wigs to make up for my skill deficit…until, of course, you hand me a wig…
Part of my problem is that wearing and caring for a wig still requires some level of hair competency and, frankly, I just am not a wig person. I am a hat person. A hat/bonnet/veil covers a multitude of hair sins!
She may or may not be wearing a giant plastic claw clip and three glittery butterfly barrettes underneath…
However, there are a few eras when hairdos outshone (or overshadowed) the hats. One of those eras is the 1870s. If you love fancy hair and lots of it, the 1870s is the decade for you!
The 1870s were all about big hair, big curls, big braids, and big lies. Fake hair was pretty much required for a properly full 1870s look. Most fashion-conscious women owned at least one switch of hair that wasn’t theirs. Indeed, nearly every fashionable hairstyle involved different hair extensions lie tiny curled frizzettes (fuzzy, short bangs) or even huge braids and entire chignons made of someone else’s hair:
Variety of fashionable hairstyles and the hair extensions (called switches) used to create them, circa 1867.
Ten illustrations of different types of wigs and hair pieces, Revue de la Coiffure, circa 1875
There were also all manner of Victorian hair “hacks” invented to help create the elaborate updos in vogue, not unlike all the “As Seen On TV” bun makers and curling contraptions we have today.
Hair dressing combs from Revue de la Coiffure, circa 1878
These combs were sold with instruction pamphlets so ladies and their maids could create stunning hairstyles with “less effort.” I can feel my hair knotting up just looking at them!
A later Edwardian ad for Hair Switches and Chignon Forms from a 1912 Sears, Roebuck, and Co. catalog
As my Simplicity 4244 Natural Form Era project inched closer to completion, I realized that I was going to have to do SOMETHING with my hair in order to properly top off my new 1870s outfit. Hair can really make a or break an outfit, especially a historical one. I wanted to do Simplicity 4244 proper justice, and, honestly, crazy-huge hair has always been my unattainable dream. I figured it was time to give some proper historical hairstyling a try!
I assessed my skills: I could make a high pony tail and I could curl it. Oh, and I could use one of those mesh donuts to make a smooth faux bun, like I did for the DFW Costumers Guild’s outing to Dracula:
Confession: Christopher actually curled my hair. I just stood there and wept silently at my ineptitude.
Since then, I have learned to operate the curling iron on my own, so now I can make passable spiral curls! Huzzah! I also learned the value of sectioning hair, like parting it from side to side and dividing it to make simple braids. It all sounds so ridiculously basic writing it down, but considering I struggled to make a high “Barbie” ponytail for years, the skills many women take or granted are huge victories for me! With these few triumphs under my belt, I found inspiration in both historical and modern hair tutorials:
Explicación del peinado a dos cogas (Guide for a hairstyle with two rolls), circa 1866, from La Moda Elegante
Modern bridal hairstyles like this one by Ulyana Aster (especially with hair jewels), remind me of Empress Sissi’s hair.
Many of the tutorials I found were for women with thick, textured/curly, or extra-long hair. My natural hair is thin and slick, but fairly plentiful. It is all the same length and doesn’t hold curl really well, but will make a nasty knot in an instant (teasing is not my friend).
24 hours after cowashing and air drying in the Great Texas Blow-Dryer (sweltering sunshine and western wind). It’s not a dream to style, but it is now much easier to work with than before I began cowashing and using homemade dry shampoo, which more closely mimic historical hair care methods.
With a little experimenting, I came up with an 1870s hairdo that can be done in less than 30 minutes, alone, with minimal tools and techniques. I figured there must be other ladies out there that struggle with historical hair, so I shut myself in my horribly lit bathroom for half an hour to make a photo tutorial.
My hair is below-shoulder length right now, but the method I came up with will work for shoulder length hair, too.
General Hairstyle Suitable for 1867-1880
You will need:
1 ponytail tie/elastic
1 smaller hair elastic
A curling iron
Hair pins, bobby pins, or a snap clip
Step 1: Brush your hair back into a smooth, high ponytail at your crown and secure it with a hair tie.
You can experiment with the height of your ponytail so it works best for your hair length and comfort. If you choose to wear a hat/cap/bonnet, make sure it will sit properly over the ponytail. You might need to raise/lower it accordingly.
Step 2: Divide your ponytail into two sections–top and bottom– and bundle the top section together with a hair elastic.
The top part of your ponytail will become the twist and the bottom part will become the falling curls. Divide the hair according to your preference. Dividing it evenly in half will result in a fuller top twist. Taking only a third of the ponytail for the top will result in a fuller set of curls in the back.
Step 3: Curl the bottom section of your ponytail into ringlets.
For best results, use a 3/4 inch or smaller curling iron. Mine is 3/4 of an inch and it is about as large as you can go for good period ringlets. Curling irons in the era were generally smaller or women would use rag curls, another option is you have the time. Here are some photos showing Late 1860s-1870s falling curls in a few different sizes and styles: large and tumbling, medium and neat, and small and tight.
Step 4: Twist (or braid) the top section of your ponytail.
To get a nice, pretty loop, I loosely twisted the top section. If you have fuller/longer hair, this section would look extra fancy braided. Braids were all the rage during the 1870s– the bigger, the better!
Step 5: Loosely loop the top section around the back of the ponytail and secure the end in front/underneath.
This sounds tricky, but it’s really more complicated to type/photograph than to actually do. You just drape the twisted top section over the curls in the back, making a nice, languid loop. Then secure and hide the ends. I used a snap clip to secure mine, but a more subtle and period-correct method would be to use hairpins or bobby pins. If your hair is really long, you might even be able to loop it twice or make a bun!
And that’s the end of my basic 1870s style!
You could stop here, or add a decorative comb or some flowers to dress it up. The style is very similar to this lady’s, especially if you separate the ringlets a bit with your fingers:
Kate Beckinsale…Is that you?!
However, I felt that my hair was a little too smooth and flat to look really 1870s-chic, so I decided to buy a hairpiece!
My first idea was to buy a fancy bun cover, like these:
Big braided buns are so totally 1870s that I just KNEW that if I could get one, I would look so incredibly fabulous that clouds would part, angels sing, and unicorns would frolic around me! However, I was dangerously close to my event deadline and most of these glorious chignons are only available directly from China. I couldn’t find a braided bun sold by a US seller, but I did find a large, curly one I thought might work okay and the seller advertised that their stock was shipped from the US and could arrive in 3-5 days.
After placing my order, I got an apologetic email informing me that they actually didn’t stock my color in the US despite what the listing said, so it shipped directly from China anyway. I was miffed that I paid extra money for this style because I thought it was US stock, only to have it ship from China like the fancier, less-expensive versions I actually wanted. My order did arrive in time, though, BUT, it was nothing like the color in the picture! It was waaaaaay too dark. I think they sent me the next color down.
The one on the left is the color I ordered (light brown). The one on the right is closer to the color I received (dark brown).
So close, and yet so far!
So I paid more and waited longer for an item that I couldn’t use. I was disappointed to say the least– and rather heartbroken because I had invested so much hope into it, dreaming of solving my historical hair woes for good. Honestly, it is a super cute hairpiece that could have worked so well if it had been the right color!
After so much anticipation only to have my hopes dashed, I was really worried I wouldn’t find a good hairpiece in time for the event.
Still, I knew I needed something to complete my hair. I crossed my fingers and bought a little curly wiglet from Jamie’s Hair World on eBay. They assured me that they were US based (my item shipped immediately from California), and my item would arrive in a week. They were right!
Doesn’t it look like a hairy cell phone cover? It’s about the right size and shape!
My camera sucks at capturing true colors in the awful florescent light of my room. The color is accurate to the color chart’s “Medium Golden Brown.” It is synthetic hair and is not overtly shiny. The texture is what I would call “quality Halloween wig,” not particularly soft, but not crunchy.
Before I show you how it looks on, here’s the main listing picture:
The picture does not lie. You can make a pretty darn sexy mullet with it:
This is fresh out of the package with no fluffing or styling which is why I call it my “curl loaf.”
While it might seem hideously wrong for the period, this wiglet is perfect for late Victorian hairstyles. Victorians loved big, curly bangs just as much as party girls in the 1980s! According to an article from 1894, full, curly bangs like this were called “Titus” bangs and were available as hairpieces just like mine (see Figure 31). If the Jamie’s wig model above just curled her “party in the back,” she’d be a dead ringer for the Victorian Goddess of Curly Bangs, actress Sarah Bernhardt!
If you collect Victorian Photographs on Pinterest, I can guarantee you that, at some point, you have seen or even pinned a photograph of Ms. Bernhardt. If by some miracle you haven’t, this webpage is full of her photos and portraits. Go forth and adore!
So despite its dubious appearance, the reason I chose this little wiglet is that it’s extremely versatile. Besides being worn as bangs, the pictures also show it styled as a curly chignon:
And I decided to place mine at the top of my head to give my otherwise flat hair the tall, voluminous look of classic 1870s hair.
Unlike many hairpieces which have only a few basic color choices, Jamie’s Hair World offers this hairpiece in over 20 hair colors! My hair does this funky natural ombre thing–brown at the roots that lightens to strawberry blonde– so I didn’t quite know which color would work best for me. Since I was going to wear this nearer to my roots, I chose the Medium Golden Brown. It was a good match!
It’s super easy to put on. You just snap the little bottom combs open and clip them shut into your hair. Mine stayed perfectly in place through a whole evening in theater under my heavy tiara and didn’t budge all day in the blustery Texas wind at the Cowgirl Museum.
As I said, I’m not very adept at working with hair or wigs, so the addition of a small hat instantly hides any of my styling shortcomings and completes the look.
This wiglet is quick, easy, and works exactly as I wanted it to. The color match was true to life as were the product pictures. As a bonus, I caught mine on sale for $15, though it is currently priced at $18 including shipping, a little more expensive than other hairpieces directly from China, but the color choices, quality assurance, and quick domestic shipping are wonderful perks. The styling and texture are very convincing in real life even with my lack of styling skills. Overall, I would give this Mona Lisa Wiglet from Hair World by Jamie a very satisfying 4.5 out of 5 rating! The perfect hairpiece for beginners!